Reviews
[Review] ‘Anthem’ is a Messy MMO Shooter That’s Still Satisfying to Play
Does Bioware’s loot-shootin‘ baby deliver on its Iron Man power fantasy? Our Anthem review tells you how its technical flaws are softened by its stellar combat and flying.
I like Anthem much more than the 3.5 Skulls out of 5 I’m going to give it at the bottom of this review may suggest. On a 1-10 scale, that’s a 7, which— as someone who reads and writes a lot of game reviews— I know suggests a pretty average, maybe mediocre, experience. That’s not how I feel about Anthem.
BioWare’s rootin’, tootin’, lootin’, shootin’ answer to Destiny is a triumph of game feel. While the famed RPG developer has historically been known for gripping, choice-driven narratives that feel pretty meh to play, with Anthem, the teams at BioWare have outdone themselves, delivering an exhilarating roller-coaster ride of soaring and shooting. Minute-to-minute, Anthem feels as good as an Iron Man-simulator should feel.
And you are this particular Iron Man or Woman, the pilot of a fully customizable flying exosuit, and a gun for hire (known here as a “freelancer”) helping to keep safe the citizens who call the game’s hub world, Fort Tarsis, home. Most of your time in-game will be spent beyond the walls of the fort, taking on missions, contracts, and strongholds in the lush green world of Bastion.

I never got tired of exploring Anthem’s world. Taking to the skies is simple and intuitive, and the javelin’s tendency to overheat pushes you to look for outcroppings to run along and waterfalls to fly beneath. When your health ticks down into the red, flight also provide for exciting escapes. When the big bad Dominion’s forces are overwhelming, ejecting to the sky above the battle’s fray provides all the functionality of getting into cover, but without slowing the frantic pace. From this vantage point, you can switch from flying to hovering, firing down at enemies’ weak spots from beyond their grasp.
And, the shooting, from whatever angle, feels extremely good. After plenty of time playing Fortnite, it’s refreshing to hop into an online third-person shooter that feels tactile and crunchy to play. While Anthem’s roster of weapons is severely limited when compared with other shared world shooters like Destiny, the firearms that currently occupy the armory are all fun to use. Shotguns, assault rifles, snipers and pistols all have a satisfying punchiness.
That shooting is supplemented by javelin-specific abilities. Over the course of Anthem’s campaign, you’ll have the opportunity to unlock four different javelin classes. The Ranger is a sturdy all-arounder; a base model javelin to learn the basics with (who, not coincidentally, you’ll inhabit for the tutorial mission). My favorite, the Interceptor, is swift death, melee-oriented greased lightning that unleashes a flurry of blows for its Ultimate ability. The mighty Colossus is slow-moving but powerful, with a lengthy health bar and a physical shield it can heft to hold off enemy attacks. And the Storm is a mage-like mech with the ability to summon elemental attacks, raining down lightning, fire, and ice on any opponent foolish enough to get in its way. Each suit feels significantly different, and the fact that one player can unlock all four—rather than having to start the campaign over as a different class—makes it easy to experiment and find the right fit.
Combat and flight— frequently nestled together as snugly as a freelancer in their metal death suit—form the beating heart of Anthem. Unfortunately, BioWare doesn’t do nearly enough to vary the activities you use these verbs to accomplish. Probably 90 percent of the missions in Anthem follow a nearly identical formula: fly to a location, fight a ton of enemies who are almost always arranged in an arena-style circle around you, then collect the loot that the big ones drop at the end of the fight. There are variations—gather some items while you fight the enemies; fight the enemies then move to a different area and fight some more enemies—but, by and large, Anthem relies on the same structure over and over again.
Watch Neill Blomkamp’s Anthem short film
As a result, I forgot most of Anthem’s missions the second they ended. Some, like the first and final missions of the campaign, drop you in unique settings, which provides a welcome change. But, most are memorable, not because of anything that happens on the sortie, but rather, because of the story beats that bookend them.
Generally, that story—communicated through buzzy voices in your headset during missions, and through first-person cut scenes back at the fort—worked for me. There are problems—it relies overmuch on the player’s codex to explain the backgrounds behind all the Proper Nouns it evokes; the player character is less malleable than past BioWare protagonists, and about as interesting as a silent protagonist; your choices are effectively meaningless—but, generally, it does a solid job of telling an epic science fantasy story with a cast of characters that I mostly liked. While the overarching story is sometimes hard to follow, I found it easy to get invested in the personal drama.

But, no matter how much I like what Anthem is doing, plentiful bugs still seem to be keeping many players from experiencing it. The problems that hamstrung the game’s demo—defined mostly by server issues which rendered it unplayable for many players—have mostly been resolved. But, they left new issues in their wake. One of the random players I tackled the second-to-last mission with said that he had attempted it three times prior but had been unable to progress because of glitches. Sure enough, during our run, we encountered a bug that prevented the mission from loading correctly, resulting in the game sending endless (genuinely endless) waves of enemies at us without offering a way to progress. I started experimenting because I didn’t want to replay the lengthy mission from the beginning, and found that if I let myself die, it reloaded our squad into the mission at the right point. This moment was satisfying; not because the game was working correctly, but because I was able to overcome the game’s brokenness.
My hope is that BioWare, too, will be able to overcome the ways that their game is broken. Since that demo, Anthem has steadily grown more stable. Some issues, though—like the repetitive mission structure—run deeper than glitchiness. But, Anthem’s core mechanics are satisfying, its world is enticing and its characters, by and large, are charming. With this review done, I will continue to play it. I want Anthem to get better, and I only hope that EA will give BioWare the time and resources to make this game as good as it can be.
As it stands, it’s still worth a shot.

Anthem review code for PC provided by the publisher.
Anthem is out now on PS4, Xbox One, and PC.
Home Video
‘Night School’ 4K UHD Review: An Essential Slasher with Giallo Soul
Night School, director Ken Hughes and writer Ruth Avergon‘s tale of a headhunting slasher on the streets of Boston, arrived in the early Golden Age of the slasher film and never quite broke through the endurance test that other films in the subgenre, like Friday the 13th, managed to pass with flying colors. Blame it on a more cerebral tone, a crowded market, whatever you like, but saying it’s a shame that the film didn’t break through doesn’t begin to cover it.
Night School isn’t just an underrated slasher, or an underseen one. For my money, it’s one of the best films the subgenre has ever produced, full stop, and Vinegar Syndrome’s new 4K UHD restoration, arriving just in time for the film’s 45th anniversary, is must-have proof. Stacked with special features highlighting the craft of the film and its place in slasher history, and headlined by a gorgeous restoration showcasing the wonderfully textured production, this is Night School as it’s meant to be seen for slasher devotees everywhere.
So, what makes the film so effective? It starts very simply, with the revelation that a killer with a very cool knife and a motorcycle helmet as a mask is murdering young women in Boston, taking off their heads, and dropping those heads in the nearest body of water (no matter how small).
Solving the case falls on Judd Austin (Leonard Mann), a detective with an academic background who traces all of the victims in one way or another back to a local night school. There, suspicion falls on a womanizing professor (Drew Snyder) who sleeps around on his research assistant and romantic partner, Eleanor (Rachel Ward), whose own death could be right around the corner.

I’m doing my best to stay as spoiler-free as possible here, not just because I think plenty of slasher fans still need to see Night School, but because the film is quite determined to be a whodunit in the classic Italian giallo sense. The kills are brutal and elaborate, the killer deliberately covered head-to-toe in leather and a gleaming black helmet, the knife and the headhunting a disturbing signature. Avergon’s script is well-versed in the trappings of exactly this kind of story, complete with red herrings galore. And yet, by the time it’s all wrapping up, there’s also the sense that the answer was right there in front of you the entire time, something the very best films by legends like Mario Bava and Dario Argento could also achieve.
But on to the restoration: Like the best of the gialli, Night School is also a beautifully engineered film full of colors and delicate camera compositions and sound design. The opening kill, which takes place on a playground carousel outside of a daycare, is rich in exactly this kind of thing, from the cityscapes that lead into the scene to the sound of a motorcycle slowly rolling forward, its engine already dead. Cinematographer Mark Irwin, best known for his many collaborations with David Cronenberg, paints the film in rich reds, absinthe greens, and haunting, chilled blue-white light on wet Boston streets, all of which are preserved beautifully by the restoration team at work on this one.
It’s a movie that very deliberately evokes a specific place – the aging streets of Boston in the 1980s, and the halls of relatively low-level academia – and then takes that place into haunted territory, saturating every frame with color and shadow that suggests a killer lurking just out of view.

Night School is not a massively gore-heavy film, but it does deliver the slasher goods with a series of tense, often unpredictable kills and body discoveries that range from the darkly comic to the flat-out jaw-dropping. That’s thanks to the sound design, the score, the editing from Robert Reitano, and more, all of which add to the film’s giallo soul.
In every case, the scene’s geography is outstanding, and it’s easy to see where the simplest possible kill shot might land, but the film never goes for the obvious. Throw in a surprisingly (for 1981, anyway) feminist bent to the storytelling and some very progressive moments for an early slasher film, and this one fits right in with Black Christmas and The Slumber Party Massacre as a film with depth you can just keep unpacking.
That depth, helped along by a load of featurettes and two new commentary tracks featuring members of the crew, is what stands out the most in this new 4K set. Night School may be a niche film recognized mostly by horror addicts and the slasher faithful, but it deserves to be something more, a landmark on the roadmap of slasher cinema history. It’s one of the best in the genre, and this restoration highlights, underlines, and shouts that from the rooftops.
Night School is now available in 4K UHD from Vinegar Syndrome.


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